In the January 12, 2008 publication of Billboard Magazine, Quincy Jones briefly reflects on the production of Thriller and the experience behind it.
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Billboard Magazine
January 12, 2008
Thriller time - Remembering a historic recording, 25 years later.
I've made three complete trips around the world in the last 18 months and at every club I visited, at peak hour, when they finish all the other things, they go and play "Thriller." I'm happy about it, but it startles me. Twenty five years--that's a long time for a record to still be a part of the everyday swinger's set.
Before we started on "Thriller," I was working on Donna Summer's second Geffen album. I thought it would take four months, but it went seven. In the middle of it, we took a break, and Jackson and I went to Tucson, Arizona, to Paul McCartney's house to do "The Girl Is Mine" because that was the only time he was in town. By the time I finished Summer's record, we only had eight weeks to do "Thriller." Sometimes that's better. You don't have time to sit there and get paralysis from analysis. You just go with your best instincts.
So we had three studios going at once and something going on every day and night. In the back room they were singing through cardboard pipes on "Billie Jean," and we had Eddie Van Halen in the other room, which was amazing.
I was begging Jackson for a black rock'n'roll song and he came up with "Beat It," which was crying out for Van Halen. Vincent Price was perfect casting for the rap on "Thriller." He's the personification of horror, and he did it in two takes because he's a serious pro.
If you listen to God's whispers, the whispers tell you what to do. Of course, none of it would have been possible without my A-Team: Rod Temperton, Bruce Swedien, Jerry Hey, Greg Phillinganes and everyone else that contributed. There's nothing better than creative collaboration. It was exciting because we were very adventuresome then and unafraid. I don't think anything like "Thriller" will ever happen again. Being involved in a record like that is a major, major gift from God.
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Source: MJJR.net / Billboard Magazine
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Billboard Magazine
January 12, 2008
Thriller time - Remembering a historic recording, 25 years later.
I've made three complete trips around the world in the last 18 months and at every club I visited, at peak hour, when they finish all the other things, they go and play "Thriller." I'm happy about it, but it startles me. Twenty five years--that's a long time for a record to still be a part of the everyday swinger's set.
Before we started on "Thriller," I was working on Donna Summer's second Geffen album. I thought it would take four months, but it went seven. In the middle of it, we took a break, and Jackson and I went to Tucson, Arizona, to Paul McCartney's house to do "The Girl Is Mine" because that was the only time he was in town. By the time I finished Summer's record, we only had eight weeks to do "Thriller." Sometimes that's better. You don't have time to sit there and get paralysis from analysis. You just go with your best instincts.
So we had three studios going at once and something going on every day and night. In the back room they were singing through cardboard pipes on "Billie Jean," and we had Eddie Van Halen in the other room, which was amazing.
I was begging Jackson for a black rock'n'roll song and he came up with "Beat It," which was crying out for Van Halen. Vincent Price was perfect casting for the rap on "Thriller." He's the personification of horror, and he did it in two takes because he's a serious pro.
If you listen to God's whispers, the whispers tell you what to do. Of course, none of it would have been possible without my A-Team: Rod Temperton, Bruce Swedien, Jerry Hey, Greg Phillinganes and everyone else that contributed. There's nothing better than creative collaboration. It was exciting because we were very adventuresome then and unafraid. I don't think anything like "Thriller" will ever happen again. Being involved in a record like that is a major, major gift from God.
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Source: MJJR.net / Billboard Magazine